Presented by Jim Tatum Owner of Still Life Photography by Jim Former Member of:

1. Presentedby JimTatum Owner of Still Life Photography byJim Former Memberof: Professional Photographers of America (PPA) Association of Professional Photographers of Illinois(APPI)

2. RTFM! RTFM! - Read the Friggin Manual! Yes there is a lot of information in most camera manuals for all kinds of photography. Manufacturers want you to make the most out of your camera and usually include way more information than the average user might ever use. Whenever you have a question or problem, check the manual first. You will not be able to absorb all of the info in the manual and probably will not need much of it, but you should have an idea of the camera’s capabilities by reading themanual. TURN OFF THE FLASH - Unless you want only “snapshots” to show a model or scene quickly. Any camera that I’ve seen has thisoption. LIGHTING - Provide lighting on the scene in any other method - existing room lights, work lights, lights on extension cords, desk lamps, daylight from a window, etc. The more light you can place on the scene thebetter. USE A TRIPOD - If you turn off the flash, the shutter will have to stay open for a relatively long time. During this time ANY camera movement will make the image blurry. With film cameras the idea has always been to have a good sturdy tripod, because film cameras are usually heavy. Most digital cameras are small and light, so can get by with lighter tripods, although heavier ones can be the best choice. Flimsy tripods can vibrate if the shutter is pushed toohard.

3. 5. USE THE CAMERA SELF-TIMER - Most cameras have a self-timer; use it when taking photos even if the camera is on a tripod. The timer is usually shown with a clock symbol,see above. Pressing the shutter button can sometimes cause minute vibrations or movement ofthe camera, resulting in blurry photos. Some cameras have infrared remotes or the ability to accept remote control cords. These are better than using the self-timer as they take less time to trip the shutter. 6. SET THE WHITE BALANCE – Set the color balance in the camera for the type of light you are using. Better cameras will allow you to choose between daylight, fluorescent, incandescent, etc. Improper color balance can be corrected in the computer after shooting if you have a decent graphics program. 7. CLOSE UP SETTING - Most digital cameras have a close up setting; it is often shown as a flower icon on the camera body or screen, see above. You should know what the distance range is in this mode; check the manual. Some will focus down to a few inches, others may be farther back. Most overall model railroad photos may not require the close up setting unless you want to get in really close like in the front of an engine, or a shot of a particular detail. For a small scene you will probably be shooting about two feet or so away, so the close up mode will probably not be needed too much. There are so many differences between camera capabilities that it is best to make some tests yourself to determine when the close up setting will beuseful. 8. QUALITY SETTING – Always use the highest quality image setting on your camera,forthe largestfilesize. You can always make a larger file smaller, but you cannot make asmallerone larger.

4. ZOOM LENS – Most digital cameras come with zoom lenses. The “optical zoom” is when the lens actually moves in or out to change the size of theimage. Many can also do a "digital zoom" – do not use this foranypurpose! All a digitalzoomfeature does is take the image at the long end of your optical zoom and cut out the center portion, resulting in a poorqualityimage. You can do the same by cropping an image taken at the long endof the opticalzoom. Note: - You will get the most depth of focus when using the lens at the widestsetting. - The more you zoom in, the smaller the depth of focusbecomes. BRIGHTEN THE SHADOWS – If parts of the model or scene are in deep shadow, there will be nothing to see in thedarkareas. Reflect light into the shadows to brighten itup. You can make reflectors from two pieces of sturdy white cardboard hinged together with duct tape; this allows the reflector to stand on its own. One side was covered with aluminum foil that I had crumpled up first then flattened before gluingon: Homemade reflectors, aluminum foil glued to one side of cardboard sheets. White side is used when less reflecting light iswanted. This breaks up the reflections so they do not look like a single point of light fromamirror. Whenless light is needed, I use the plainwhiteside. Make sure when you lighten the shadows that youdonot overdo it – there should not be two sources oflight.

5. Scene with no reflector, too muchdarkness! Same scene using a reflector, muchbetter! 11. SET SENSITIVITY - The ISO setting in the camera should be set at thelowestnumber. Thisis similar to the film speed in film cameras, and denotes the light sensitivity of thecamera sensor. The lower the ISO number, the better quality of your photos. Using higher settings can result ingrainy images. Low isbest!

6. 12. LIVE VIEW - Many recent DSLRs have the capability to shoot using "Live View", which shows the actual scene on the rear LCD. Most point and shoot cameras do the same. This gives you a good look and what you are photographing, and if you close the aperture down to the shooting aperture, you can see the depth offocus. 13. TEST PHOTOS – It is a good idea to shoot some test photos with your camera using the above tips, to help judgeits capability. Most point and shoot digital cameras will not have a greatdepthof focus, so test photos taken on your actual layoutwillhelp. If you want to take a photoofyour favorite engine, a popular ¾ view of the model may not have the entire engineinfocus. Reducing the angle of view towards a side on shot may result in more of the model being infocus. The End of theBasics! If you’ve mastered your camera and its controls and are able to get results that are technically acceptable, the next step is to makebetterphotographs. You can take pictures, but youhaveto make photographs. Many consider fine photographs as art – work that is createdbythe photographer, as opposed to a “snapshot” that almost anyonecould take. Some peoplehavean artistic ability, others can learnit. There are widely accepted “rules” in photography that aren’t really rules – just conventions in composition that can help to make a photo pleasing tothe eye. All photos do not have tobetaken according to these rules, but they are a good way to learn to see and create aphotograph.

7. (The following is adapted from the Kodak.com website – they can explain their business better than I can. Some of the points areillustrated): 1. CHOOSING YOUR MAIN POINT OF INTEREST. Although you know what your subject is, it can be hard for a viewer to determine your intent if too many elements in your picture makeit confusing. Eliminate all unimportant elements by moving closer, zooming in, or choosing a different shooting angle. Seebelow: There are many elements in this photo - it doesn't have a real "center ofinterest" See the difference by moving in a bit, the main interest is now thetrain.

8. 2. ADJUST YOUR ANGLEOFVIEW. Alter your position - Change your position toemphasize or exaggerate how big or small yoursubjectis. You can also move your camera right or left onlya few feet to change the compositiondramatically: Here's a "Helicopter View" looking down at the scene, often the normal way we see ourtrains. Notice how the same scene looks at a lowerviewpoint.

9. 3. PLACING THE SUBJECT OFF-CENTER. Putting the subject off-center often makes the composition more dynamic and interesting. Even if your subject fills the frame, the most important part of the subject should not be dead center. 4. FOLLOW THE RULE OF THIRDS - An easy way to compose off-center pictures is to imagine a tick-tack-toe board over your viewfinder. Avoid placing your subject in that center square, and you have followed the rule of thirds. Try to place your subject along one of the imaginary lines that divides yourframe. The caboose, the main subject of the photo, has been placed at one of the dividingpoints. 5. WATCH THE HORIZON - Just as an off-center subject is usually best, so is an off-center—and straight—horizon line. Avoid cutting your picture in half by placing the horizon in the middle of the picture. To accent spaciousness, keep the horizon low in the picture. To suggest closeness, position the horizon high in yourpicture.

10. 6. USING LEADING LINES - Select a camera angle where the natural lines of the scene lead the viewers' eyes into the picture and toward your main center of interest. You can find such a line in a road, a fence, even a shadow. Diagonal lines are dynamic; curved lines are flowing and graceful. You can often find the right line by moving around and choosing an appropriateangle: Notice how the tracks act as leading lines - leading your eye to the trainsubject. 7. INCLUDING OBJECTS IN THE FOREGROUND - When taking pictures of landscapes, include an object, such as a tree or boulder, intheforeground. Elements in the foreground add asenseof depth to the picture. A person in the foreground helps establish a sense ofscale:

11. 8. FRAMING THE SUBJECT - Sometimes you can use the foreground elements to "frame" your subject. Overhanging tree branches, a doorway, or an arch can give a picture the depth itneedsto make it more than just anothersnapshot. 9. SHOOTING VERTICAL OR HORIZONTAL - Don't forget that you can turn your camera sideways to take averticalpicture. Try taking both horizontal and vertical pictures of the same subjectto see the differenteffects. A subject that you might usually think of as horizontal can makeastunning verticalpicture.

12. 10. KEEP PEOPLE BUSY - The model figures in your scenes should be doingsomething. 11. FIND UNUSUAL VIEWPOINTS. All photos do not have to be taken from trackside, orfrom a “helicopter position”; shoot under trees, from tops of buildings or rolling stock,etc. 12. One of the MOST IMPORTANT TIPS is to practice, practice, and practicesome more! Nothing beats a lot of experience, finding out what works and whatdoesnot. Golfing legendArnoldPalmer replied to someone who said he sure was lucky in golf by saying “Yes, the more I practice the luckier I become”. ADVANCED TECHNIQUES – ComposingPhotos For something that could be moving, like a person or a locomotive, leave a little room in front of it so it looks like the subject is moving into the photo, rather than out ofit.

13. In the photo above the engine is almost out of the scene - it appears to be leaving, making the photo less interesting. In this same scene the engine still has some place to go, making the scene appear like something is happening - the train is moving onthrough. Depth ofFocus The size of the lens opening determines how much a scene isinfocus. Lensopeningsare measured in "f stops". Smaller numbers like f/2.8 areLARGER openings. Big numbers suchasf/22 are SMALLERopenings. For our use in model photography, the smaller openings will give us the most depth of focus (also known as depthoffield). See examplesbelow:

14. This photo was taken at f/4.5, with the lens focused on the figure. The sharpness is very shallow, not all of the sign is in focus and the background is totally blurry. (This can be an effective tool to isolate a foreground subject; a lack of a depth of focus isn't alwaysbad.) This photo was taken at f/8. A little more is now in focus, but the sign is still not allsharp. This photo was taken at f/14. Still more is now in focus the sign is better, and the background is more distinct.

15. This photo was taken at f/22. A good part of the sawmill scene is now in focus, the background is still soft but this does not detract from the overalleffect. NOTE: Most "point and shoot" digital cameras - those whose lenses are not removable - will only be able to close their lenses down to around f/8. This still gives a decent depth of focus, but it is best to shoot some trial photos first to gauge your camera'scapabilities. You will always get the most depth of focus with the camera lens set at the widest setting. As you zoom out, depth of focus decreases. So for the best depth of focus, shoot at the wide angle setting on yourlens. To be able to achieve the smaller f stops such as f/11, f/16, and f/22, a camera with removable lenses is required - the DSLR -Digital Single Lens Reflextype. More on Depth of Focus/Depth ofField This photo was taken with a point and shoot digital set for close up mode and on automatic, showing the effect of depth of focus. The HO Climax steam engine under 6" (15 cm) long from coupler tocoupler. Focus extends from about the front pilot to the cab. Everything beyond that is outoffocus. Notthe greatest for showing the details of theengine.

16. The same engine taken with the same camera and settings, but a side view to be able to show all of the engine. The foreground and background are out of focus, but do not matter in thisscene. This scene was again taken with the same camera as the above photos, the truck and sign painter are in focus, with the far edge of the billboard is out of focus but it is acceptable. The out of focus background is a good thing in this shot, as it does not detract from the main subject. Depth of focus can be useful in suchoccasions. You can use colored backgrounds or white, fordifferenteffects. The camera is on a tripod,andthe white balance is set for the fluorescent lighting - best to make tests usingyourcamera. Ofcourse you can use incandescent desk lamps for similar photography, just be sure to set the white balance to incandescent. Use the lowest ISO setting for the best quality, and turn on the camera self-timer to eliminate vibrations when you press the shutterbutton. A SUGGESTION - When you set up a scene to photograph, be sure to check and see if all of the wheels of the rolling stock are on the rails. It is very easy to set an engine on the tracks and not notice that all of the wheels are on the track! Unless your intention is to show a derailment, do a quick visual check before shooting. The voice of experience talkinghere!

17. Presenting here a few recent photos to illustrate different things than can be done with modelphotography: The camera doesn't always have to be on a tripod to get the photos youwant. Here it's sitting on the layout to get a close-up of the bridgearea. This is what the camera captured. I wanted to illustrate a scene with an automobile and atrain. One of the great advantages of digital images is they can be adjusted, rearranged, changed, added to, etc. to achieve the final image youdesire: Notice the changes? I didn't like the billboard with the RDC behind the car as it was distracting, so I edited it out using the clone feature in my Paint Shop Pro program. I also added steam and smoke to the steam engine, and finally cropped some of the foreground out to make this finalversion.